南京博物院藏《江藩像》及题咏考

An Analysis of Portrait of Jiang Fan Collected in Nanjing Museum

南京博物院庋藏历代书画4万余件,尤以明清书画最成体系,佳作、精品颇夥,肖像画迹不少,其中院藏一件绢本《江藩像》颇值得关注。画面题识:“郑堂先生小像。丹阳丁以诚写真,西吴费丹旭补图”,钤印:“子苕”(朱文)。江藩文友李黼平、郑兆珩、韩卫勋、阮福、阮元、田享屯、周世锦、萧光裕等人分别于本幅或裱边留下题识,共计八人九则。这幅丁以诚、费丹旭合作的《江藩像》,或是江藩传世的唯一肖像,其上题咏累累,勾勒出像主的交游网络,弥足珍贵。嘉庆二十三年(1818)前后,江藩南下广州,随身携带了这幅丹阳丁以诚写真、乌程费丹旭补景的画像。该图形神兼备,卷帙累累、乐琴横陈,既符合像主热衷藏书的趣味,亦隐喻着像主经学大家的端严身份。道光元年(1821)三月廿一日即江藩61岁生日前一日,及至道光三年(1823)十月间,于其应聘肇庆主修《肇庆府志》前夕,江藩两度出示自己的写真小影,邀请诸多友朋题咏以为种种认知怀想与情感投射,呈现出极为生动的社会文化景观。

The Portrait of Jiang Fan collected in Nanjing Museum,which was jointly completed by Ding Yicheng and Fei Danxu,is probably the only portrait of Jiang Fan ever handed down.There are many inscriptions on it,outining Jiang Fan's social network,which is very precious.Around the 23rd year of Jiaqing(1818),Jiang Fan went south to Guangzhou,carrying with him the portrait drawn by Ding Yicheng of Danyang and Fei Danxu of Wucheng.The por-trait features combination of the form and spirit,with numerous volumes and placed musical instruments,which is in line with the owner's interest in collecting books,and also a metaphor for his serious status as a master of classics.From March 21 in the first year of Daoguang(1821),the day before Jiang Fan's 61st birthday,to October in the third year of Daoguang(1823),on the eve of his appointment to lead Zhaoqing's revision of the Zhaoqing Prefectural Re-cords,Jiang Fan twice presented his own portrait,inviting many friends and associates to inscribe it with various cog-nitive and emotional projections,presenting an extremely vivid social and cultural landscape.